33___33_33, Acoustic Anthropology, Acoustic Paradigm, Alberto Giacometti, Ambiguous Audio, Ambiguous Sound, Arsenale, Arsenale Venice, Ash International, Audio Ambiguity, Audio History, Audio Illusion, Audio Inkblot, Audio Rorschach, Auditory Ambiguity, Auditory Illusion, Auditory Inkblot, Berlin Atonal, Berlin Atonal 2023, Berwick Film & Media Arts, Berwick Film & Media Arts Festival, Berwick Film Festival, BFMAF, BFMAF Berwick, Biennale di Venezia, Billy Bultheel, Bionics Institute Melbourne, Bobby Gillespie, Bonington Gallery, Brad Story, Bruce Nauman, Caterina Barbieri, Central School of Speech & Drama, Chant D'Amour, CSSD, David Alais, Deathwatch, Disinformation, Due Qui, Due Qui / To Hear, Dynamics Of Signification, Edition Kymata, Eros & Thanatos, Expanse, Experimental Portraiture, Festival of the Unconscious, Film & Video Umbrella, Film and Video Umbrella, Finn Johannsen, Freudian Slip, Frith Street Gallery, Funeral Rites, FVU, Gavin Bryars, Gertrude Contemporary, GQ magazine, Gucci, Haute Surveillance, Hayward Gallery, Hayward Touring, Henry Moore Institute, Homophone, Homophones, Hugh McDermott, Hypebeast, Illusion of Sound, In Plain Sight, Inigo Wilkins, Institute of Contemporary Arts, Irreversible Dynamics Of Signification, Irreversible Noise, Italian Pavilion, Jane Hamlyn, Jean Genet, Jean-Paul Sartre, Joe Banks, John Berger, Journal du voleur, Kali Malone, Kymata, La Biennale di Venezia, Lars Riecke, Laurel, Laurie Britton Newell, Le Balcon, Lending An Ear, Les Bonnes, Les Nègres, Les Paravents, Ligaya Salazar, Liquid Architecture, Listen Gallery, Listen Gallery Glasgow, Louis Albert Necker, Love & Death, Love Song, Luca Cerizza, Maastricht University, Macro, Macro Rec, Marc Camille Chaimowicz, Massimo Bartolini, Massimo de Carlo, Miracle de la Rose, Mishearing, Mishearings, Mix Tate, Mixtate, MUMA Melbourne, Music of the Mind, National Portrait Gallery, Necker Cube, Nick Thurston, Nicoletta Costa, Notre Dame des Fleurs, Nottingham Contemporary, NPG, Our Lady of the Flowers, Padiglione Italia, Penned in the Margins, Perceptual Ambiguity, Perceptual Flipping, Peter Taylor, Poetry Film, PoetryFilm, Pompes Funebres, Primal Scream, Prisoner of Love, Psychoacoustic Effects, Psychoacoustics, Querelle de Brest), Querelle of Brest, Radical Reversibility, Radio Benjamin, Reversibility, Reversible Images, Richard Dawkins, Rob Mullender, Rob Mullender-Ross, Rorschach Audio, Saint Genet, Samizdat, Sigmund Freud, Signification, Sonic Ambiguity, Sonic Studies, Sound & Music, Sound Installation, Sound Studies, Stefan Goldmann, Subjective Vision, Subjectivity, Subjectivity of Vision, Tate, Tate Gallery, Tate Modern, The Balcony, The Blacks, The Freud Museum, The ICA, The Maids, The Maltings, The Miracle of the Rose, The Performers, The Screens, The Thief's Journal, The Weight of Words, Theatre Noise, Thief’s Journal, Tim Etchells, Tiziano Scarpa, To Hear, Two Here, Un Captif Amoureux, Un Chant d'Amour, University of Arizona, University of Sydney, Urbanomic, Vector Rituals, Venice, Venice Biennale, Video Art, Vision, Visual Subjectivity, Vitrine Gallery, Walter Benjamin, Ways of Seeing, Weight of Words, Wellcome Collection, Wellcome Trust, What do You Hear?, Yang Li, Yanny, Yanny or Laurel?, Yoko Ono